Best Writer
1. BRIAN K. VAUGHAN (Y: The Last Man, Ultimate X-Men, Ex Machina, Runaways)
#1 Writer of the Year? You hear that Alan Moore, you bitch? I always told you I’d be on top, old man!
Seriously, I don’t believe in art as competition, and I certainly don’t think I’m anywhere near the best writer working today, but I’m still greedy enough to claim this very nice award. Thanks to everyone who’s cool enough to shell out their hard-earned bucks for my books every month, and thanks to my amazing co-creators and collaborators, who turn my boring talking heads into things of beauty.
Thanks again,
BKV
The word ‘phenomenal” is used too frequently these days. Yet, that word is the only one I can think of to describe Brian Vaughn. Not only has he begun one of the best science-fiction epics the genre has seen in “Y: The Last Man””¦ not only has he introduced us this year to a most unusual hero in Mitchell Hundred in “Ex Machina”, he has truly performed the miraculous in writing an X-Men book that does not leave me confused and annoyed. Well done!
-Matt Morrison
Our writer of the year, Mr. Brian K. Vaughan, has a way of making the highly intelligent seem accessible and the seemingly ridiculous come out intelligent.
Y: The Last Man and Ex Machina are two of the most high concept books you will find on the market: the tale of the last man on Earth and a story of a super hero who realized he could do more good as a man in a world where heroism seems forgotten. One would think either series would be bogged down by too much exposition, too many literary allusions or just too much bleakness, but Vaughan manages to throw in enough humor and wit to keep things just light enough without losing the gravity of the situation. However, the comedy never becomes so overwrought that we forget that Vaughan is telling two of the smartest and most thought-provoking stories around.
On the flipside you have Ultimate X-Men, a book that is kind of about a bunch of teenagers with flashy powers fighting bad guys and finding time in between missions to live a soap opera (complete with rapid fire rotation of romantic partners), but Vaughan succeeds in never playing down to his audience or letting the story become juvenile. Vaughan had a pretty tough act to follow when you consider the two men he followed on the title were Mark Millar and Brian Michael Bendis, two of the top writers of the modern age and the pillars of the Ultimate imprint, yet I’d argue this is the best Ultimate X-Men has been since its inception. In Vaughan’s world, every member of the team has their own distinct personality, their own reason for being a member of the group (or not being one) and their own agenda; watching these agendas mesh or clash is the fun of the book. Ultimate X-Men is one part action movie, one part teen romance, and all carefully crafted to tell a story about people who live the fantastic yet seem very real; it’s exactly what made the X-Men great during their heyday under Chris Claremont and his artistic collaborators in the 1970s and 80s.
There doesn’t seem to be any challenge too great for Brian K. Vaughan or any concept or character he can’t bring the best out of.
-Ben Morse
There is no coincidence that every other list up to this point includes at least one Vaughan character or collaborator. Between Y, Ex Machina, Runaways, and Ultimate X-Men, BKV produced critically acclaimed works that seem to be building audiences, not losing them, which is a rare feat in comics these days indeed. On the surface, his topics could not have less to do with one another or with the real world: a post apocalyptic world where one man and monkey stand along, a “team” of kids fighting the “man” in the form of their evil (for real!) parents, a superhero mayor, and a team of outsiders who defend a world that hates and fears them. Yet, for each improbable scenario, Vaughan instills such a thread of humanity into each of the characters that the stories envelop you. The common piece that binds all his work together? They tell stories of flawed individuals stumbling through a world they can’t quite get a grasp on. And what could be more “real” than that?
-Tim Stevens
There are many great writers out there, but Brian K. Vaughan seems to have had the most recent success launching his own concepts. Many top-writers sell a boatload of books with established characters, but often have a difficult time finding readership with a new concept. Brian K. Vaughan has had massive successes, both critical and mainstream, almost entirely with new concepts. Y: The Last Man and Ex Machina are tremendous hits, and Runaways, which hasn’t met with the same level of sales success as the other two, has equaled the critical acclaim, and seems poised to get a boost with its relaunch early in 2005. Vaughan’s unmatched record of success stems from his ability to make characters resonate with so many readers.
-Chris Delloiacono
2. Geoff Johns (The Flash, JSA, Teen Titans)
“It’s not possible without the artists and editors.”
-Geoff Johns
Rare is the writer today who pays much attention to the continuity of what has come before. Rarer still are those who use that continuity to make their stories a deeper part of something bigger. And rarest of all are those who can use continuity and use it well. Geoff Johns does this with a consistency that is frightening. The man who untangled Hawkman has had more than his share of challenges this year, writing the first big spin-off out of Identitiy Crisis in The Flash, continuing the excellence that we have come to expect of JSA, revitalizing The Teen Titans and”¦ oh yes, bringing Hal Jordan back from the dead. And next year, he’s coming up with a new background for Power Girl! Dear lord”¦ does the man never sleep?
-Matt Morrison
I know what you’re all thinking, “oh, Geoff Johns’ little buddy is going to write about how great Geoff is”¦” which”¦um”¦is true. But let me tell you something: way before I ever knew Geoff the dude, I was a huge fan of Geoff the writer, and all the stuff that made me a fan then keep me a fan now. Geoff’s writing was a huge reason I got back into comics in the first place and a major reason why I’ve stuck around with a bit more commitment this time around.
The thing I love most about Geoff’s writing is that he wastes absolutely nothing; every panel, every character, every line of dialogue is there for a reason. When Geoff writes a comic book, he is never looking at just what’s immediately in front of him, he’s always seeing the bigger picture and it always pays off. I don’t consider myself a continuity nut who is unable to enjoy a story if even a minor glitch occurs, but I think in a way reading Geoff’s work has spoiled me; he is such a master of respecting the past and making sure everything makes sense and is in line with has come before while never retreading and always moving forward. The pieces of the story Geoff writes are wonderful, but the overall tapestry is brilliant.
His work on Flash is probably my favorite example of the “big picture with small details” mentality Geoff has. Plot points like the brewing unrest between the Rogues or the instability of The Top paid off this year or have begun to. Villains and supporting characters like Mirror Master, Ashley Zolomon and of course Captain Cold become key elements in the ongoing story, not just wallpaper; I firmly believe that Geoff could write an ongoing series starring any member of the Flash cast and it would be one of the most interesting books on the market. But the focus never fully leaves Wally West; he remains the touchstone of this sprawling saga and we always come back to him.
Teen Titans is another title in which elements set in motion during the first year and even before have paved the way for a blockbuster sophomore year of excitement. The idea of marrying (figuratively) Trigon and the Church of Blood, two of the most important villains in the storied history of the Titans, was done so seamlessly and in such a clever way. Whereas a year ago these were eight characters that had seemingly been thrown together without purpose, under Geoff’s pen all of the Titans have formed very real ties and become a believable family. For every epic battle scene, there is a tender moment between Superboy and Wonder Girl (I’ll never fail to smile when Conner charges in with a “Hey! That’s my girl!”). For every moment of gravity there is a ridiculous exchange between Kid Flash and Beast Boy. Geoff is a master at balancing all the elements needed in a team book and, again, telling a far bigger story than can be contained in any one issue.
Geoff once told me “no writer is perfect, we all have bad stories, you just have to hope the percentages come up in your favor;” well Mr. Johns, I’d say your 2004 batting average was about as close to one thousand as anybody can hope to get.
-Ben Morse
We’ve mentioned this man so often on our site, he is practically the patron saint of Comics Nexus (and certainly of Benjamin Morse). But it is not without good reason. He’s a true talent who works miracles with characters that were judged to dull (Hal Jordan) or too silly (the Rogues) to be bothered with, who unravels the tortured continuity of DC’s heroes and villains to render them accessible once more while not putting off longtime fans (Hawkman, Parallax, or, soon, Powergirl). In an industry that many fans are convinced could care less about the history behind it, Johns is living proof that, no matter how it may seem, there will always be those who rebuff that theory and that movement.
-Tim Stevens
Seeing the name “Geoff Johns” on a comic is now a recognized symbol of excellence in the comic biz. I’m currently reading all of Geoff Johns’ regular work, and most of the side projects he does. Flash and JSA are two of the best on the rack, Teen Titans is a ton of fun, and I am stunned how much I’ve liked Green Lantern: Rebirth thus far. Geoff Johns certainly has a golden touch. The biggest fear that I have with any book that Geoff Johns is working on is that he’ll leave.
-Chris Delloiacono
3. J. Michael Straczynski (Amazing Spider-Man, Supreme Power, Strange)
Probably the greatest unintentional rabble-rouser in the business. Many were too busy being angry about JMS’ “Sins Past” to realize that for all the revolutionary changes it made to Spider-Man’s past, it was a well-written and well visualized tale that made good use of some long forgotten history. Much as I hated to see yet another “Norman Osborn out-Machiavellians Machiavelli” storyline, I have to admit this one made sense. Between this, the return of Rising Stars (and it’s about damn time) and his new Dr. Strange title, JMS has proven himself to be one of the best in the business.
-Matt Morrison
4. Brian Michael Bendis (Ultimate Spider-Man, Daredevil, Powers, Avengers, Alias, The Pulse, Secret War, Ultimate X-Men, Ultimate Fantastic Four)
If sheer volume of output was a determining factor in the selection process, there is no doubt Bendis would end up at the top of the list. Ditto with controversy.
Thankfully, we don’t consider those relevant factors so Bendis made it to #4 on the strength of his own talent. Which is not to say that he was not prolific or controversial in 2004 as well.
He successfully relaunched Powers as the first release of Marvel’s creator owned imprint Icon and quickly dispelled notions that the move would somehow disinfect the book, eliminating its language, violence, or (all important) nudity. Even the letter column, one of the raunchiest, funniest things available in your LCS remained unscathed.
The Avengers, while brutalized by sites (including this one), still brought readers back to the title at levels that had not been seen since Busiek and Perez relaunched it post-Heroes Reborn. New Avengers seems poised to be a barnburner in 2005 as well.
His run on Daredevil continued, leading into the ambitious, Once Upon a Time in”¦esque Golden Age story that crossed 3 eras of stories to deliver the story of Daredevil’s beginnings, the rise and fall of the man who almost was Kingpin, and the current sorry state of Matt Murdock’s existence.
In addition to that, along the way, Bendis managed to launch Ultimate Fantastic Four to huge numbers, did a tour of duty on Ultimate X-Men (thus fulfilling the promise that existed since the start of the Ultimate U), and was even featured in the pages of The New York Times. Not too shabby.
5. Ed Brubaker (Sleeper, Catwoman, Gotham Central, The Authority)
Ed Brubaker wrote some of the best Batman stories in recent years. As I became enamored with his work on Batman, I began following him to other titles. Nobody does gritty, realism better in the world of comics. Sleeper and Gotham Central are two of my current favorites. While only the first issue of Captain America has been released as of this writing, Brubaker seems poised to take a character that’s been mishandled for a long time, and, finally, getting him back on track. After this year Ed Brubaker has become one of the few names in comics that can sell me a book without even a glimpse at the content.
-Chris Delloiacono
6. Joss Whedon (Astonishing X-Men)
He got me reading an X-Men book and liking it. And I hate X-Men. ‘Nuff said!
-Matt Morrison
If I can just echo Matt’s statement and say that I had never bought or collected a mainstream non-Ultimate X title until this year. I almost let this one get past me too, but finally circled back and bought all the issues when Colossus made his big return to terra firma (I like the metal fella, don’t ask me why). And thank goodness (goodness?) I did. For the first time I found myself reading an X story that I enjoyed reading as much as I enjoyed the concept of the X-Men. That’s all it took to get me hooked.
-Tim Stevens
As a Buffy and Angel fan to the max, I never doubted Joss Whedon’s ability to write, but I was slightly worried about how his small/big screen writing style would transfer over to a new medium.
I shouldn’t have bothered.
A lot of people are saying the X-Men have not been this good in years (some say ever) and they’re not wrong. Joss blends perfectly the humor, drama and action for which he was known on his television programs, the difference now being that he has an unlimited special effects budget with which to work and his actors can’t leave unless he says so.
Much like what I was saying about Geoff Johns, everything Joss Whedon does is part of a bigger story and every hint he drops has a huge payoff. I don’t think the return of Colossus could have possibly been handled in such a cool and dignified manner that provided a poignant moment and rush of excitement at the same time; but Joss didn’t bring Colossus back just because it was cool, he did it because he had a story to tell about where he’s been and why, one we have not yet seen come to fruition.
Joss creates a world that looks so fun we’d love to live there yet with such heavy risks and consequences we’d never dare; and he didn’t need real people or a production crew to create this world, he did it all with his imagination.
-Ben Morse
7. Kurt Busiek (Conan, JLA, Avengers/Thunderbolts, JLA/Avengers)
“I’d like to thank all the little people. Where’d they go? They were here a minute ago, I swear.
Seriously, I don’t know which of my stuff I was nominated for, but I’ve been lucky to work with terrific artists – George Perez, Brent Anderson, Carlos Pacheco, Ron Garney, Cary Nord and more — who make it easy to look good. Plus, of course, there’s the undisputable fact that if the readers didn’t support the books, we couldn’t keep doing them, so thanks to everyone out there who makes it possible to have this much fun and raise two great kids without having a real job…- Kurt Busiek
By Crom, this man can write! Nobody does legendary like Busiek and he did dance in the clouds with the gods this year. Between penning the long, long, LONG awaited JLA/Avengers storyline and bringing back Conan the Barbarian to a regular monthly title, Kurt has been a busy man. Throw in his writing the first JLA title in years that is worth reading and you’ve got one writer whose name guarantees quality.
-Matt Morrison
There isn’t a better writer than Kurt Busiek in comics right now. With Busiek’s work you never get the same basic ideas with a different name. Not only can Busiek do team books like JLA, he’s got the cross-company blockbuster in JLA/Avengers, the book that redefined how superheroes can be written in Astro City, plus he reinvigorated the dreary sword & sorcery market by making Conan a hit comic once again. Quality, quantity, and variety are three wonderful gifts Kurt Busiek brought to the industry in 2004.
-Chris Delloiacono
8. Brad Meltzer (Identity Crisis)
If all the men and women who took the time to write a comic book in 2004, I’d say the biggest fan of the medium among them is somebody who doesn’t even consider comics his full time profession, and that man is Brad Meltzer.
The joy, the passion and the microscopic attention to detail put into Identity Crisis are what made it a work that will go down in history as a defining work in the history of comic books. Brad Meltzer grew up loving the characters of the DC Universe and he set out in 2004 to restore them to a place of greatness where people would once again recognize that within even the smallest DC character there is the spark of potential for an amazing story.
Mission accomplished.
Following Identity Crisis, perennially overlooked characters like Elongated Man, Deathstroke, The Atom and Dr. Light have become major players again thanks to Brad. He took what boiled down to a story about normal people killing each other through extraordinary means and made it the most gripping and emotional roller coaster of the year. Every character beat, every change of tone, they were constructed so well that you’d smile at the grandeur of a character or tenderness of a relationship one minute and then find yourself almost weeping for what happens to both the next, and all the while questioning what it all means, because the mystery has swept you up and won’t let go.
Though Green Arrow is credited as the “core” narrator of Identity Crisis, over a dozen characters had a go at being the “voice” of the story, and not once did Meltzer fail to make it work. Whether it was Batman, Captain Boomerang or Dr. Mid-Nite, you always had the feel a real person was telling you what went down. We saw heroes at their worst, villains at their best, and everything in between, and Meltzer made sure you felt it all, were affected by it all.
With Identity Crisis having finally reached its conclusion, we are now able to sit down and appreciate just how much work was put into it by its architect. From fleshing out the players, to perfectly manipulating the pace, to dropping in just the right moments at just the right time, Brad Meltzer has to be recognized as one of the hardest working men in any field of fiction as well as among the most talented.
-Ben Morse
Identity Crisis may not have been perfect, but in the end, Brad Meltzer pulled off a superhero murder-mystery that kept me guessing till the end. More importantly about Identity Crisis was that comic fans were treated to an event that delivered on its promise. For once characterization won over universe-shattering theatrics, which is why the series will reverberate for years to come.
-Chris Delloiacono
A truly classy guy who is as much a fan as you or I (in fact, perhaps, even more so). For the first time since I started reading DC “event” comics, I actually thought Identity Crisis paid off on the hype. And I thank Meltzer, the mastermind behind it, for that.
-Tim Stevens
9. Gail Simone (Birds of Prey, Rose & Thorn)
Dear Comics Nexians…
You’ll have to forgive me, because my natural tendency when I’m happy about something is to be a little silly. But just this once I think I’ll make a poor attempt at grace and simply say thank you for the very, very kind gesture you’ve made here. In a year when there were so many amazing and enthusiastic writers doing their best work, to be acknowledged at all by anyone not asking for money is just this side of miraculous.
And we ARE enthusiastic this year. I’ve talked to so many creator friends at every company this year, and the trait they seem to share is a rediscovery of the joy of honest comics. Let plumbers be morose, I say. Lately, when comics people get together, they’re like giddy schoolchildren about what’s coming next issue. For a long time, the entire industry seemed to be about LAST issue (and last year, and last decade), and now we’re once again dying to know what’s coming next month, and that makes me happy.
I think this whole thing would be a lot more authentic, however, if Joan and Melissa Rivers were here making fun of my pajamas. As it is, I have to just IMAGINE Anna Nicole Smith throwing up on Ben Affleck. Or in our case, Mark Millar throwing up on Brian Bendis.
It’s going to sound goofy, I know it, but the lion’s share of the credit for Birds Of Prey and Rose and Thorn should go to the artists and editors who worked on those books, who, instead of turning in adequate workmanlike material decided to give their best efforts month after month. Ever have a job where you simply adore the people you work with? That’s me in both cases. In particular, I have to mention Ed Benes and Adriana Melo, as well as Mike Carlin, Joan Hilty, and Lysa Hawkins. They’d make anyone look good.
I’m trying to think of a way to say how much I appreciate the support of the readership (of which this is just a part), and I really tend to fail dismally here. Everything I really feel has been stolen and delivered by bad soap actresses winning daytime Emmys. All I’ll say is I can’t tell you how much it all has meant to me, and the people who have
been so kind to me will always have my sincerest gratitude. If I had the kitchen space, I’d make you all strawberry pancakes.
Now, about next issue…
-Gail Simone
Token broad? Don’t you believe it, bub! Gail proved a long time ago that good action sequences are hardly the exclusive domain of guys like Chuck Dixon and her run on Birds of Prey has far surpassed anything that “master of action” ever did. She’s funny too, and manages the neat trick of balancing humor and action in every title she writes. She can write drama too, as this year’s “Rose & Thorn” mini-series proved. So don’t say that Gail’s just on this list because we wanted a girl on it. And don’t call her a girl either. She’ll probably kick your ass for that”¦ And then we will all point and laugh because you got beat up by a girl.
-Matt Morrison
Go back up there and read Simone’s acceptance speech again. See how funny, intelligent, and gracious it is? Every issue of Birds of Prey she writes is like that. She loves writing comics and it shows. Her stories unfold at a crackerjack pace with smart dialogue and excellent fight sequences (something she particularly enjoys and excels at writing). There aren’t a lot of people who could take over a book that I think of as “Chuck Dixon’s” and make me forget all about the bearded wonder, but she did it. In fact, as much as it feels dirty to admit it, I think she has out written Mr. Dixon on the title. And, coming from me, that is high praise indeed.
-Tim Stevens
10. Peter Milligan (Human Target, X-Statix)
Peter Milligan has a quirky sense of humor and a keen story savvy. His work never follows along the path traveled by most creators. Milligan often enlightens, usually thrills, and always keeps me guessing about what will happen next. Plus he never runs a story into the ground. I thank any writer that can steer clear of decompressed storytelling in today’s market.
-Chris Delloiacono
Peter Milligan has the book that’s always the first book that I read when I get home from the shop. Now some readers save their favorites for last, but for me waiting for the next installment of Human Target is as difficult as a kid sleeping on Christmas Eve, the air is pregnant with anticipation. He writes a world as real as the one that you and I live in. Chris Chance is complex yet you believe that he breathes.
Milligan’s work on X-Static got some attention, so much so that Milligan has snagged a major X-Title, and he might even bring me along for the ride. And if a writer can manage to bring me back to the X-Verse after a decade long absence, he must be great. Plus now that he’s an X-Writer maybe Kid Amazo will be published.
-Mathan Erhardt
He writes Human Target. That’s all I have to say and all you need to know.
-Tim Stevens
We draw ever closer to the Best Title of 2004. Can you hold your anticipation for much longer? Cause I know I can’t.
